The Return of Peter Grimm
THE RETURN OF PETER GRIMM [Illustration: DAVID BELASCO] DAVID BELASCO (Born, San Francisco, July 25, 1853) The present Editor has had many opportunities of studying the theatre side of David Belasco. He has been privileged to hear expressed, by this Edison of our stage, diverse opinions about plays and players of the past, and about insurgent experiments of the immediate hour. He has always found a man quickly responsive to the best memories of the past, an artist naively childlike in his love of the theatre, shaped by old conventions and modified by new inventions. Belasco is the one individual manager to-day who has a workshop of his own; he is pre-eminently a creator, whereas his
"Oh, I see. So you are going to the Quaker City, as pa calls it. I wish
you luck. You'll have to write to me, Joe, and let me know how you are
getting along."
"I will,--and you must write to me."
"Of course."
On the following day Joe rowed along the lake to where his old home dock
had been located and made a trip to what was left of the cabin. He spent
another hour in hunting for the blue box, but without success.
"I suppose I'll never find that box," he sighed. "I may as well give up
thinking about it."
From Andrew Mallison our hero had obtained his letter of recommendation
and also a good pocket map of Philadelphia. The hotel man had also
made him a present of a neat suit case, in which he packed his few
belongings.
Ned Talmadge came to see him off at the depot. The day was cool and
clear, and Joe felt in excellent spirits.
Soon the train came along and our hero got aboard, along with a dozen
or fifteen others. He waved a hand to Ned and his friend shouted out
THE RETURN OF PETER GRIMM [Illustration: DAVID BELASCO] DAVID BELASCO (Born, San Francisco, July 25, 1853) The present Editor has had many opportunities of studying the theatre side of David Belasco. He has been privileged to hear expressed, by this Edison of our stage, diverse opinions about plays and players of the past, and about insurgent experiments of the immediate hour. He has always found a man quickly responsive to the best memories of the past, an artist naively childlike in his love of the theatre, shaped by old conventions and modified by new inventions. Belasco is the one individual manager to-day who has a workshop of his own; he is pre-eminently a creator, whereas his